Filmography: Takot ako, eh! (1987)

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Basic Information: Director: Mario O’Hara; Writing credits: Mario O’Hara, Tito Rey; Cast: Ian De Leon, Lotlot De Leon, Matet De Leon, Caridad Sanchez, Jaime Fabregas, Richard Merck, Ronel Victor, Marilyn Villamayor, Kiko De Leon, Vida Verde, Irma Alegre, Vilma Santos, German Moreno, Romnick Sarmenta, Zorayda Sanchez, Dan Alvaro, Mario Escudero, Tony Angeles, Nora Aunor, Nanette Inventor, Maritess Ardieta, Arthur Cassanova, Lady Guy, Lucy Quinto, Josie Galvez, The Ramon Obusan Dancers, Remy Tabones; Producer: Nora C. Villamayor; Original Music: Demet Velasquez; Cinematography: Johnny Araojo; Art Direction: Julius Dubal; Sound: Antonio Acurin

Plot Description: No Available Data

Film Accomplishments: 1988 FAMAS Best Child Actor Nomination – Ian De Leon

Film Reviews: “…The only evidence that Takot Ako, Eh! could not have been made by just anyone with the right money and resources lies in one extremely exclusive instance. This would take a whole lot of paring down and possibly a radical revision of the exposition, but if our point of reference is Halimaw, then you’d now have the best installment available for that omnibus product. I’m referring to the subplot involving Caridad Sanchez as a way-out househelp, not quite in her right mind yet not quite obtrusive enough to arouse anyone’s suspicions. Before the time machine brings back the Nora Aunor character it first spews out Dracula (a wonderfully with-it Richard Merck), who like all the previous males on the scene doesn’t really fall for the maid’s advances, but, unlike the rest, doesn’t have the advantage of remaining intact during daytime and going without blood. When Sanchez starts turning on the charm for her captive lover, all hell, for him at least, breaks loose, and one wishes for the most part that the final Countdown hadn’t been sooner. And to return to where we started: wasn’t this the kind of role – the maid, I mean in particular – that Nora Aunor became famous for? A character performer like Caridad Sanchez can think of nothing about shifting from serious to comic interpretations within more or less similar characterizations (check out two temporally disparate Lino Brocka films, Santiago and Ano ang Kulay ng Mukha ng Diyos?, plus her critically underrated salvo in Marilou Diaz-Abaya’s Alyas Baby Tsina, for a sober accounting of the lady’s prowess); on the other hand, a Nora Aunor can only work on a highly involved plane of acting, in fact as in film. Forced to a distance (considering her bygone stature as the superstar of Cebuano cinema), Sanchez takes full advantage by playing to the hilt, damn the consequences, and involves everyone else in her having fun even at her own expense; Nora Aunor offers a weak substitute of herself, four of them in fact, and politely takes her place in the background. Somewhere there’s a metaphor for the human capacity for excessive celebrity, and the sadness of losing a precious sort of genius when the condition begins to take its toll…” – Joel David, National Midweek, 25 November 1987 (READ MORE)


Filmography: Haplos (1982)

“…Al! Natatako ako, umalis na tayo rito!…Kapag sumama ka sa kanya mamatay ka…” – Cristy

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Basic Information: Directed: Antonio Jose Perez; Story, screenplay: Ricardo Lee; Cast: Vilma Santos, Christopher De Leon, Rio Locsin, Delia Razon, Eddie Infante, Rez Cortez, Juan Rodrigo, Jaime Fabregas; Original Music: Jun Latonio; Cinematography: Romeo Vitug; Film Editing: Edgardo Jarlego, George Jarlego, Ike Jarlego Jr.; Production Design: Laida Lim-Perez; Sound: Rolly Ruta; Theme Song: “Haplos” performed by Eva Eugenio

Plot Description: Al (Christopher De Leon) is a balikbayan who returns to his former hometown where his mother is buried. There he meets his childhood friend Cristy (Vilma Santos) who works as a counselor for family planning. Eventually they develop a romantic relationship and end up as a couple. However, a mysterious lady appears one day while Al tends to his mother’s grave. Al falls in love with the stranger and is now torn between her and Cristy. Haplos is another cinematic masterpiece by famed screenwriter Ricardo Lee. It is the official entry to the 1982 Metro Manila Film Festival. With Vilma Santos and Christopher De Leon in the lead roles and supported by Rio Locsin, Haplos is a brilliant movie with a mind-boggling twist in the story. It’s a must-see for all Pinoy film buffs. –  neTVision

Film Achievement: 1982 Metro Manila Film Festival 3rd Best Picture; 1982 FAMAS Nomination Best Supporting Actress – Rio Locsin

Film Review: “…The movie’s first major flaw is the relationship between Cristy and Al. Virginal Cristy has her first taste at the hands of Al. In one scene, Cristy says that she views the event as isolated, but in another scene, she says she has fallen in love with Al. Between the two scenes, however, she never sees Al. Does perception change with time? In general, yes but only if there is cause to change. Al, for all intents and purposes has disappeared from Cristy’s life after the isolated bed scene. The second major flaw involves the time frame of Auring, the ghost. She was supposed to have been raped and killed during the Japanese occupation. She reappears to select men, in this case Al, in order to seduce them. That was the only logical explanation for the fact that she allows herself to be kissed so quickly. Since she is dead, she should not die again. When the house burns down in the end, therefore, her house should reappear as it does and Auring should reappear but she doesn’t. Where’s the logic?…Because the director does not know how to direct his actors, they end up delivering uninspired performances. Rio Locsin is the best of the leads, with Christopher de Leon a poor second. Vilma Santos apparently cannot decide how to approach her role. Haplos, simply put is a bad horror film.” – Jojo Devera, Sari-saring Sineng Pinoy (READ MORE)

“…Medyo mabagal ang unand bahagi ng pelikula, lalo na kung isa kang viewer na alam nang tungkol sa multo ang istorya dahil sa sunod-sunod na press releases na isinasaad ng buod nito. Sa simula pa lang ng istorya ay inaabang-abangan mo na agad ang multo na kay tagal bago unang lumitaw. Medyo nagda-drag na nga at bigla na lamang na-revive ang aming atensiyon nang lumabas na si Rio Locsin sa eksena. Biglang nabuhay ang pelikula and from thereon ay naging absorbing na. Isang malaking dahilan kung bakit nagtagumpay ang pelikula ay ang pagka-casting kay Rio sa papel na Auring. Ibang-iba ang aura ni Rio sa pelikulang ito. She looks so ethereal, out of this world, ibang-iba kaysa sa mga taong cast din ng pelikula. Terrific ang screen presence ni Rio at talagang she is oozing with sex. Na-eclipse niyang talaga si Vi at Boyet. Kung iisipin mo’y maikli lamang ang role but her memory lingers kahit wala na siya sa eksena. ‘Yung mga pangiti-ngiti niya at patakip-takip ng bibig, very effective talaga. Magaling din sina Vi at Boyet in their respective roles, pero talagang getting attention ang role ng multo at perfect pa ang casting ni Rio rito…Somebody from the ECP script’s screening committee told us na mas maganda raw ang orihinal na script ni Ricardo Lee sa naisapelikula. Isang istudyanteng nagbabakasyon sa lalawigan si Cristy at naging takilyera sa isang sinehan. Pero ipinabago raw ito ni Vilma kaya’t nagmukhang propaganda para sa family planning ang papel niya. Ang orihinal na Cristy ay mahilig mag-fashion model kaya’t hindi katakataka nang isuot niya ang damit ni Auring na nakita niya sa kama nito. May nag-aakalang sa ending ng pelikula ay na-possess si Cristy ng kaluluwa ni Auring but the writer never intended it to be like this…” – Mario E. Bautista, Jingle Extra Hot Magazine, 1982 (READ MORE)

“…Halloween may not be that big of a deal on our tropical shores, but Philippine cinema has had its wealth of scary features in the last 50 years or so. Sure, we have our unique superstitions, supernatural mythology and homegrown ghost stories; yet it is safe to presume that local moviegoers go for cinematic chills due to this universal fact: horror/suspense movies are downright entertaining, if in often perverse ways. The alphabetical list below gathers just 10 of the more memorable Filipino films that are scary in varying degrees — some straight-up gory, others disturbing or creepy; some tacky, others funny; all generally reflecting a sense of moviemaking adventurism that has been lacking in Pinoy filmdom of the last decade or so…Likewise an MMFF entry in its year of release, this Ricky Lee-scripted, Antonio Jose Perez-helmed drama is topbilled by Vilma Santos and Christopher de Leon, a tandem whose prolific body of work together is, in the view of former Philippine Free Press contributing editor-writer Ricky Torre, “akin to the wealth of collaborations between Miles Davis and John Coltrane. The Vi-Boyet oeuvre ably tackled the nuances of human relationships.” Haplos’ key players essentially form a love triangle (Rio Locsin plays the 3rd wheel) but, in the story’s traversing between its present time and the era of the Japanese occupation, it is also, as Torre muses, “a far-out take on the time-space continuum.” The horror element in Haplos is also its twist, one best realized by the uninitiated by scoring it on video CD…” – Bert B. Sulat Jr., Rappler, 10 Oct 2012 (READ MORE)

“Nasa ikatlong araw na ngayon (Monday, Dec 27) ang 1982 Metro Manila Film Festival na nagsimula noong Dec 25, Saturday, at ngayon pa lamang ay nadarama na ng mga producer ang kanilang kapalaran sa takilya. Nakangiti na ‘yong mga nangunguna at lulugo-lugo naman ‘yong kulelat. Subalit hindi pa tapos ang festival. Ngayong gabi, Dec. 27, Monday, ay ang Gabi ng Parangal sa Cultural Center (Main Theater) at dito’y tiyak na lalabas na naman ang dalawang mukha na simbolo ng show business. Isang nakatawa at isang umiiyak. Makikita ngayong gabi ang simbulong ito sa paggagawad ng karangalan sapagkat tiyak na ang mga magwawagi ng mga pangunahing karangalan ay nangakangiti at ‘yong mamalasan ay tutunganga na lang. Sa gabing ito ibabatay ang tunay na kalalabasan ng festival sa susunod pang pitong araw. Dikasi ang magaganap ngayong gabi ang siyang magdudulot ng pagbabago sa takbo ng labanan sa takilya….Sa sampung pelikulang naglalaban-laban, di lang sa takilya kundi sa karangalan, ang unang paboritong magta-top gross ay ang Santa Claus is Coming to Town ng Regal, Panday Ikatlong Yugto ng FPJ, Himala ng ECP, Moral ng Seven Star Films at Haplos ng Mirick Films. Ang mga paborito namang magwawagi ng awards: sa Best Actor, mahigpit ang labanan nina Robert Arevalo sa Santa Claus at Christopher de Leon sa Haplos. Sa Best Actress, labanang umaatikabo rin sina Vilma Santos sa Haplos, Lorna Tolentino sa Moral at Nora Aunor sa Himala…” – Movie Flash Magazine, 1982 (READ MORE)

Filmography: Asawa ko Huwag Mong Agawin (1986)

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Basic Information: Direction: Emmanuel H. Borlaza; Story: Pablo S. Gomez (based on the novel “Paano Ba Sasabihing Paalam Na”); Screenplay: Jose Javier Reyes, Jake Cocadiz; Cast: Vilma Santos, Amalia Fuentes, Eddie Gutierrez, Gabby Concepcion, Gretchen Barretto, Sheryl Cruz, Elvis Gutierrez, Romeo Rivera, Ramil Rodriguez, Deborah Sun, Debraliz, Noel Colet, Jaime Fabregas, Cris Castillo, Vicky Suba, Ena Alli, Kess Burias, Marie Barbacui, Malen Dela Trinidad, Wilson Ferrer, Reymond Rodriguez, Martin Santos, Archie Delos Santos, Alfred Barretto, Ferdie Fernando; Producer: Lily Y. Monteverde, Malou N. Santos, Charo Santos-Concio; Original Music: Willy Cruz; Cinematography: Rey Lobo; Film Editing: George Jarlego; Art Direction: Nonoy Fuentes; Release Date:1987 (Philippines); Production Company: Regal Films; Theme Song: Sung by Marissa Martin, Composer: Willy Cruz – IMDB (READ MORE)

Plot Description: Ayaw kong maging querida is a story about three people caught in a whirlwind romance bound in the norms of society class. Will love conquer all or will wealth and power dictate their destinies? – Kabayan Central (READ MORE)

A middle-aged martyr wife loses her husband to an equally beautiful but much younger woman. – ABS-CBN (READ MORE)

Film Achievement: No Available Data

Film Review: “…To recall, the senior and junior movie queens appeared in these movies: Bulaklak at Paru-paro (1970), Mga Reynang Walang Trono(1976) and Asawa Ko, Huwag Mong Agawin (1986). Amalia directed Vilma’s episode in Mga Reyna and agreed to second billing to Vilma in Asawa Ko. No doubt about it, Amalia Muhlach Sumilang Fuentes, is a Vilmanian. To seal their sisterhood and camaraderie, Vilma is Ninang to Liezl Martinez and to the latter’s son Alfonso. Why, Liezl even sang a song ’’Wind Beneath My Wings’ to her surprised mother that night which drove the strong-willed and still beautiful Amalia to tears. A Kodak moment, indeed. Priceless! While interviewing the three Muhlach generations, Fuentes, Liezl and young daughter Aliyanna, Amalia revealed to Vilma that she is protective of her ’unica hija’ Liezl. ”Ay naku, I think I also have become like my Mom, I’m also very protective of my children,” Liezl remarks…” – Mario O. Garces (READ MORE)

“…You can never go wrong if you choose a Vilma Santos film and if you want a story that gives a different twist to the “other woman” issue, then Asawa Ko Huwag Mong Agawin might give you the satisfaction you are aiming for. It shows two women in their usual roles and stereotypes: the other woman who knows all about pleasures and the wife who knows all about pain…” – Bon Ching (READ MORE)

“…Ang tatay ni KC Concepcion na si Gabby Concepcion ay isa rin sa mga kaibigan ni Vi. Ilan ding pelikula ang ginawa ni Vi at Gabby katulad ng Pahiram Ng Isan Umaga, Sinungaling Mong Puso, Hahamakin Lahat, Ibigay Mo Sa Akin Ang Bukas at Asawa Ko Huwag Mong Agawin. Sa pelikulang Bukas Sisikat Din Ang Araw, kung saan si Gabby ang prodyuser ay naging special guest si Vi na sa totoo lang ay halos kasinlaki ang billing niya (Vi) sa mga major characters nito. Isa sa mga anak ni Gabby, anak niya kay Grace Ibuna ay inaanak ni Vi katuwang sina Lorna Tolentino, Alma Moreno, Snooky Serna at Maricel Soriano. Noong last episode ng Vilma show sa GMA 7 ay isa si Gabby sa mga special guests ni Vi at nag-compose pa ng tula si Gabby para kay Vi. Noon namang nagkaroon ng problema si Gabby dahil sa kontrobersiya sa Manila Film Festival noong 1994 ay isa si Vi sa mga naging sabihan niya ng kanyang mga problema. Si Gabby ay naging best supporting actor ng Star Awards for Movies noong 1992 para sa pelikulang Sinungaling Mong Puso, best actor ng Urian noong 1992 para sa Narito Ang Puso Ko at best supporting actor ng Urian para sa pelikulang Makiusap Ka Sa Diyos noong 1991…” – Alfonso Valencia (READ MORE)

“…Sa mga Pinoy movie, paboritong tema na ang mga love triangle. Gustong-gusto natin sa mga drama ang mga nagbabangayan na dalawang babae para sa atensyon ng iisang lalaki. Sino ang inagawan at sino ang nang-agaw?…Kaya heto ang ilang pelikula na puwedeng i-connect sa nangyaya­ring issue ngayon kina Bea, Gerald at Julia…Mula sa direksyon ni Emmanuel Borlaza, kuwento ito ni Cathy (Vilma Santos) na nagkaroon ng hindi magandang pakikipaghiwalay sa kanyang boyfriend na si Mike (Gabby Concepcion). Nakilala niya ang isang may asawang lalaki, Bert Paredes (Eddie Gutierrez) na hindi masaya sa piling ng kanyang misis na si Dr. Alice Paredes (Amalia Fuentes). Pinapakita rito ang epekto ng isang unhappy marriage at pati ang kanilang mga anak (Sheryl Cruz and Gretchen Barretto) ay naaapektuhan sa pagkakaroon ng illicit affair ng kanilang ama.
Heto ang memorable line ni Vilma: “No woman can seduce a happy husband, pag hindi mo pa rin maintindihan ‘yan bakit hindi mo sampalin ang sarili mo para matauhan ka!..” – Ruel Mendoza, Abante, 27 July 2019 (READ MORE)